Chapter 4

Now to introduce our _dramatis personae_, with their "cast,"--for better effect--rather unreasonably presumed. _Nero_--(Macready, who would impersonate him grandly, and who, moreover, whether complimented or not by the likeness, wears a head the very counterpart of Nero's, as every Numismatist will vouch,)--a naturally noble spirit, warped by sensuality and pride into a very tyrant; liberal in gifts, yet selfish in passion; not incapable of a higher sort of love, yet liable to sudden changes, and at times tempestuously cruel. _Nattalis_--(say Vandenhoff,)--his favourite and evil genius, originally a Persian slave, and still wearing the Eastern costume: a sort of Iago, spiriting up the willing Nero to all varieties of wickedness, getting him deified, and otherwise mystifying the poor besotted prince with all kinds of pleasure and glory, to subserve certain selfish ends of rapine, power, and licentiousness, and to avenge, perhaps, the misfortunes of his own country on the chief of her destroyers. _Marcus Manlius_--(who better than Charles Kean?--supposing these artistic combinations not to be quite impossible,)--a fine young soldier, of course loving the heroine, captain of Nero's body-guard, chivalrous, honourable, noble, and faithful to his bad master amid conflicting trials. _Publius Dentatus_--(any _bould_ speaker; besides, it would be rather too much to engage all the actors yet awhile;)--a worthy old Roman, father of the heroine. _Galba_, the chief mover in the catastrophe, as also the opener of its causes, an intriguing and fierce, but well-intentioned patriot, who ultimately becomes the next emperor. With _Curtius_ a tribune, senators, conspirators, soldiers, priests, flamens, &c. And so, after the ungallant fashion of theatrical play-wrights, as to a class inferior to the very &c. of masculines--(of less intention withal than one of those &cs. of crabbed Littleton, like an old shoe fricasseed into savourings of all things by its inimitable Coke,)--come we to the women-kind. _Agrippina_, (one of the school of Siddons,) empress-mother, a strong-minded, Lady-Macbeth sort of woman, and the only person in the world who can awe her amiable son. _Lucia,_ (_you_ cannot be spared here, clever Helen Faucit)--the heroine, secretly a Christian affianced to Manlius; a character of martyr's daring and woman's love. _Rufa_, a haggard old sibyl, with both private and public reasons for detesting Nero and Nattalis: and all the fitting female attendants to conclude the list.

Each scene, in which each act will be included, should be pictorially, so to speak, a _tableau_ in the commencement, and a _tableau_ of situation in the end. Let us draw up upon scene _the first_. Back-ground, Rome burning; in front, ruins of fine Tuscan villa, still smoking; and a terminal altar in the garden. Plebs. running to and fro, full of conventional little speeches, with goods, parents, penates, and other lumber, rescued from the flames; till a tribune, (hight Curtius,) in a somewhat incendiary oration concerning poor men's calamities, and against the powers that be, sends them to the capital with a procession of flamines Diales and vestals, dirging solemnly a Roman hymn [some "_Ad Capitolium, Ad Jovis solium_," and so forth] to good music. At the end of the train come in Publius and Lucia, to whom from opposite hurriedly walks Galba, full of talk of omens, direful doings, patriotism, and old Rome's ruin. To these let there be added--to speak mathematically--open-hearted Manlius; and let there follow certain disceptatious converse about Nero, Manlius excusing him, extenuating his vices by his temptations, giving military anecdotes of his earlier virtues, and in fact striving to make the most of him, a very gentle monster: Galba throwing in, sarcastically, blacker shadows. After disputation, the father and lovers walk off, leaving Galba alone for a moment's soliloquy; and, from behind the terminal altar, unseen Sibyl hails him Caesar; he, astonished at the airy voice so coincident with his own feelings, thinks it ideal, chides his babbling thoughts, and so forth: then enter to him suddenly chance-met noble citizens, burnt out of house and home, who declaim furiously against Nero. Sibyl, still unseen from behind the altar, again hails Galba as future Caesar; who, no longer doubting his ears, and all present taking the omen, they conspire at the altar with drawn swords, and as the Sibyl suddenly presides--_tableau_--and down drops the soft green baize. This first act, you perceive, is stirring, introductory of many characters; and the picture of the seven-hilled city, seen in a transparent blaze, might give the followers of Stanfield a triumph.

_Second_: The senate scene, producing another monstrous crime of Nero's, also inaccurately dated. In the full august assembly, Nero discovered enthroned, not unmajestic in deportment, yet effeminately chapleted, and holding a lyre: suppose him just returned from Elis, a pancratist, the world's acknowledged champion. Nattalis, ever foremost in flatteries, after praising the prince's exploits in Greece, avows that, like Paris in Troy, and Alexander at Persepolis, Nero _had_ gloriously fired Rome; he found it wood, and wished to leave it marble; (so, the catafalque at the Invalides of the twice-buried Corsican;) in destroying, as well as blessing, he had asserted his divinity; any after due allusions to Phoenixes, and fire-kingships, and _coups-de-soliel_ falling from the same Apollo so great upon the guitar, Nattalis moves that Nero should be worshipped, and calls on the priest of Jupiter to set a good example. None dare refuse, and the senate bend before him; whereupon enter, in clerical procession, augurs, and diviners, men at arms with pole-axes, and coronaled white bulls, paraded before sacrifice: all this pandering to present love of splendour and picturesque effect. In the midst of these classical preparations, enters, with a bevy of attendants, the haughty queen-like Agrippina, whom Nero, having sent for to complete his triumph, commands to bend too; but she stoutly refusing, and taking him fiercely to task, objurgating likewise Rome's degenerate gray-beards--great bustle--senate broken up hurriedly--and she, with a "_feri ventrem_," dragged off to be killed by her son's order. Nero alone with Nattalis by imperial command; his momentary compunction nullified by the wily Iago, who turns off the subject smoothly to a new object of desire: Publius was the only senator not in his place, and Publius has a daughter, the fairest in Rome, Lucia--had not the emperor noticed her among Agrippina's women? Nero, charmed with any scheme of novelty that may change remorseful thoughts, is induced, nothing loth, to attempt the subtle abduction of the heroine; a body-guard, headed as always by Manlius, ready in the vestibule to escort him, and exit. Nattalis, alone for a minute, betrays his own selfish schemes concerning Lucia, who had refused him before, and alludes to his secret reasons for urging on the maddened Nero to the worst excesses.

_Third scene_ (or part, or _act_, if it must be so), expounds, in fitting contrast to the foregoing, the tender loves of Lucia and Manlius; a gentle home-scene, a villa and its terraced gardens: also, as Lucia is a Christian, we have, poetically, and not puritanically, an insight into her scruples of conscience as to the heathenism of her lover: and also into _his_ consistent nobility of character, not willing to surrender the religion of his fathers unconvinced. To them rushes in Publius, who has been warned by friend Galba of the near approach of Nattalis and a guard, to seize Lucia for disreputable Nero: no possible escape, and all urge Lucia to imitate Virginia, Lucretia, and others of like Dian fame, by cowardly self-murder; she is high-principled, and won't: then they--the father and lover--request leave to kill her; conflicting passions and considerable stage effect; Lucia, who with calm courage derides the dastard sacrifice, standing unharmed between those loving thirsty swords: in a grand speech, she makes her quiet departure a test of Manlius' love, and her ultimate deliverance to be a proof to him that her God is the true God, the God who guards the innocent. Manlius, struck with her martyr-like constancy, professes that if indeed she is saved out of this great trouble, he will embrace her faith, renounce his own, and so break down the of wealth and rank, are alike thrown away upon Publius; at last, the prince promises; and when Publius, after a burst of earnest eloquence, proclaims the new pleasure to consist in _showing mercy_, Nero's utter wrath, his hurricane of hate, revoking that hasty promise, and hurrying away old Publius to die at the same stake with his daughter.

_Seventh_: the catastrophe scene lies in the Coliseum amphitheatre; (I mean the older one, anterior to Vespasian's:) bloody games pictured behind, and those "human torches" at fiery intervals. Nero, enthroned in side front, surrounded by a brilliant court, amongst whom are some of the conspirators: at other side Publius and Lucia, tied at one stake in white robes, back to back, to die before Nero's eyes, Manlius and soldiers guarding them: he, Manlius, having nobly resolved to test miraculous assistance to the last, but now tremblingly believing the chance of a Providence interfering, since Lucia's escape from Nero at the golden house. Just as the emperor, after a sarcastic speech, characteristically interlarded with courtier conversation, is commanding the fagot to be lighted, and Lucia's constant faith has bade Manlius _do it_--a rush of Nattalis with attendant conspirators and Rufa the Sibyl, up to Nero; Nattalis strikes him, but the sword breaks short off on the hidden armour; Nero's majestic rising for a moment, asserting himself Caesar still, the inviolable majesty;--suddenly stopped by a centripetal rush of the conspirators; who kill him, (after he has vainly attempted in despair to kill himself,) and Galba sits on the throne, while Nero, unpitied and unhelped, gasps out in the middle his dying speech. Meanwhile, at the other side, Manlius has killed Nattalis for his treachery, cut the bonds of Publius and Lucia, and all ends in moral justice for the triumph of good, and the defeat of evil; Manlius and Lucia, hand in hand, Publius with white head and upraised hands blessing them, Nero, a mangled corpse, Nattalis in his dying agonies persecuted by the vindictive Rufa, and Galba hailed as Caesar by the assembled Romans. So, upon a magnificent _tableau_, slowly falls the lawny curtain.

Patient reader, what think you of my long-winded tragedy? No quibbling about Nero having really died in a drain, four years after the murder of Aggrippina; no learned disquisitions, if you please, as to his innocence of Rome's fire, a counterpart to our slander on the Papacy in the matter of London's; spare me, I pray you, learned pundit, your suspicions about Galba's too probable _alibi_ in Spain. Tell me rather this: do I falsify history in any thing more important than mere accidental anachronisms and anatopisms? do I make an untrue delineation of character, blackening the good, or white-washing the wicked? Do I not, by introducing Nero's three greatest crimes so near upon his assassination, merely accelerate the interval between causes and effect? And is not tragic dignity justified in varnishing, with other compost than the dregs of Rome, the exit of the last true Caesar of the Augustan family? For all the rest, good manager, provide me actors, and I am even now uncertain--such is my weakness--whether this skeleton might not at some time be clad with flesh and skin, and a decent Roman toga. I fear it will yet haunt me as a '_Midsummer Night's Dream_,' destroying my quiet with involuntary shreds and patches of long-metred blank; the notion is still vivacious, albeit scotched: Alexandrine though the synopsis appear, it must not be thrown on the highroad as a dead snake; nay, let me cherish it yet on my hearth, and not hurl it away like a _bonum waviatum_; a little more boiling up of Roman messes in my brain, and my tragedy might flow forth spontaneously as lava. What if this book be, after all, a sort of pilot-balloon, to show my huge Nassau the way the wind blows--a feeler as to which and which may please? Whether or not this be so, I will still confess on, emptying my brain of booklets, and, if by happy possibility I can keep my secret, shall hear unsuspected, friend, _your_ verdict.

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I must rather hope, than expect, that my next bit of possible authorship is not like the last, a subject forestalled. Scribbling as I find myself for very listlessness in a dull country-house, there's not a publisher's index within thirty miles; so, for lack of evidence to the contrary, I may legitimately, for at least a brief period of self-delusion, imagine the intoxicating field my own. And yet so fertile, important, interesting a subject, cannot have been quite overlooked by the corps of professed literary labourer's: the very title-page would insure five thousand readers (especially with a Brunswicker death's-head and marrow-bones added underneath).

OPIUM;

A HISTORY;

standing alone in single blackiness: Opium, a magnificent theme, warranted to fill a huge octavo: and certain, from sheer variety of information, to lead into the captivity of admiring criticism minds of every calibre. Its natural history, with due details of all manner of poppies, their indigenous habitats, botanical characters, ratios of increase, and the like; its human history, discovery as a drug; how, when, where, and by whom cultivated; dissertations as to the possibility of Chaldean, Pharaonic, Grecian, or Roman opium eating, with most erudite extracts out of all sorts of scribes, from Sanchoniathon down to Juvenal, on these topics; its medicinal uses, properties, accidents, and abuses; as to whether it might not be used homoeopathically or in infinitesimal doses, to infuse a love of the pleasures of imagination into clodpoles, lawyers' clerks, and country cousins; its intellectual possibilities of usefulness, stimulating the brain; its moral ditto, allaying irritability; together with a dreadful detail of its evils in excess, idiotizing, immoralizing, ruining soul and body. Plenty of stout unquestionable statistics, from all crannies of the globe, to corroborate all the above to the extreme satisfaction of practical men, with causes and consequences of its insane local popularity. All this, moreover, at present, with especial reference to China and the East; added to the moral bearings of the Opium-war, and our national responsibilities relative to that unlucky traffic. The metaphysical question stated and answered, whether or not prohibition of any thing does not lead to its desire; showing the increasing appetency of those sottish Serics for the forbidden vice, and illustrating Gay's fable of the foolish young cock, who ne'er had been in that condition, but for his mother's prohibition: moreover, how is it, that so captivating a form of intoxication is so little rife among our drunken journeymen? queries, however, as to this; and whether or not the humbug of teetotalism (a modern speculation, got up by and for the benefit of grocers and sugar-planters on the one side, schismatics and conspiring demagogues on the other,) has already substituted opium-eating, drinking, or smoking, for the wholesomer toddies, among factory folk and the finest pisantry. Millions of anecdotes regarding Eastern Rajahs, Western Locofocos, Southern Moors, and North-country Muscovites, as to the drug in its abuses: strange cures (if any) of strange ailments of mind or body by its prudent use: how to wean men and nations from those deleterious chewings and smokings; with true and particular accounts of such splendid self-conquests as Coleridge and De Quincey, and--shall I add another, a living name?--have attained to. Then, again, what a field for poetical vagaries, and madnesses of imagination, would be afforded by the subject of opium-dreams! Now, strictly speaking, in order to hallucinate honestly, your opium-writer ought to have had some practical knowledge of opium-eating: then could he descant with the authority of experience--yea, though he write himself thereby down an ass--on its effects upon mind and body; then could he tell of luxuries and torments in true Frenchified detail; then could he expound its pains and pleasures with all the eloquence of personal conviction. But, as to such real risk of poisoning myself, and of making I wot not how actual a mooncalf, of my present sound mind and body, I herein would reasonably demur: and, if I wanted dreams, would tax my fancy, and not my apothecary's bill. Dreams? I need not whiff opium, nor toss off laudanum negus, to imagine myself--a young Titan, sucking fiery milk from the paps of a volcano; a despot so limitless and magnificent, as to spurn such a petty realm as the Solar System, with Cassiopeia, Booetes, and his dog, to boot; an intellect, so ravished, that it feels all flame, or a mass of matter so inert, that it lies for ages in the silent depths of ocean, a lump of primeval metal: Madness, with the red-hot iron hissing in his brain: Murder, with the blood-hound ghost, over land, over sea, through crowds, deserts, woods, and happy fields, ever tracking silently in horrid calmness; the oppression of indefinite Guilt, with that Holy Eye still watching; the consciousness of instant danger, the sense of excruciating pain, the intolerable tyranny of vague wild fear, without will or power to escape: spurring for very life on a horse of marble: flying upward to meet the quick-falling skies--O, that universal crash!--greeted in a new-entered world with the execrations of the assembled dead--that hollow, far-echoing, malicious laughter--that hurricane-sound of clattering skulls; to be pent up, stifling like a toad, in a limestone rock for centuries; to be haunted, hunted, hooted; to eat off one's own head with its cruel madly crunching under-jaw; to--but enough of horrors: and as to delights, all that Delacroix suggests of perfume, and Mahomet of Houris, and Gunter of cookery, and the German opera of music: all Camilla-like running unexertive, all that sea unicorns can effect in swift swimming, or storm-caught condors in things aerial; all the rapid travellings of Puck from star to star, system to system, all things beauteous, exhilarating, ecstatic--ages of all these things, warranted to last. Now, multiply all these several alls by forty-nine, and the product will serve for as exaggerated a statement as possible of opium pandering to pleasure; yes, by forty-nine, by seven times seven at the least, that we be not accused of extenuating so fatal an excitement; for it is competent to conceive one's self expanded into any unlimited number of bodies, seven sevens being the algebraic _n_, and if so, into their huge undefined aggregate; a giant's pains are throes indeed, a giant's pleasures indeed flood over. But, we may do harm to morality and truth, by falsely making much of a faint, fleeting, paltry, excitation. The brain waltzing intoxicated, the heart panting as in youth's earliest affection, the mind broad, and deep, and calm, a Pacific in the sunshine, the body lapped in downy rest, with every nerve ministering to its comfort; what more can one, merely and professedly of this world of sensualism--an opium-eater for instance--conceive of bliss? Such imaginative flights as these, with its pungent final interrogatory, suggestive to man's selfishness of joys as yet untried, might tempt to tamper with the dear delight; whereas the plain statement of the most that opium could minister to happiness, as contrasted with those false vain views of it, remind me of Tennyson's poetical '_Timbuctoo_,' gorgeous as a new Jerusalem in Apocalyptic glories, and the mean filth-obstructed kraals dotted on an arid plain, to which, for very truthfulness, his soaring fancy drops plumbdown, as the shot eagle in '_Der Freischutz_.'

Let this then serve as a meagre sketch of my defunct treatise on opium: think not that I love the subject, curious and fertile though it be; perhaps, philosophically regarded, it is not a better one than _gin_; but ears polite endure not the plebeian monosyllable, unless indeed with a reduplicated _n_, as Mr. Lane _will_ have it our whilom genie should be spelt: accordingly, I magnanimously give up the whole idea, and am liberal enough, in this my dying determination, to sign a codicil, bequeathing opium to my executors.

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Novelism is a field so filled with copy-holders, so populously tenanted in common, that it requires no light investigation to find a site unoccupied, and a hero or heroine waiting to be hired. Nevertheless, I seem to myself to have lighted on a rich and little-cultivated corner; imagining that the subject is a good one, because still untouched, founded on facts, and with amplifiable variations that border on the probable. He that lionizes Stratford-on-Avon, will remember in one of the Shakspearian museums of that classic town, the pictured trance of hapless

CHARLOTTE CLOPTON,